The artist Katharina Ziemke stages a confusing game between past und present. Then and today merge. The atmosphere of the past is made accessible as if it had updated itself in the here and now.

The exhibition title “Two o’clock jump” refers to a 1937 composition by Count Basie, the famous pianist, organist, and big band leader (One o’clock Jump) and thus to an era of feverish musical innovation: the era of swing and the lindy hop. An ink painting measuring five metres shows a big band from that time, and the brightly-coloured grattages and additional ink paintings show dancing couples from various epochs – couples from the 1940s and current dancers, but it is impossible to assign the individual dancers to one particular epoch.
The brightness of the colours and their simultaneously vehement and harmonious interrelationships stand in contrast to the very flowing ink works. The technique of liquid ink on the extremely thin, almost transparent rice paper enables the artist to start swinging, like the musicians, and she only retains partial control in the execution, seeking a balance between spontaneity and control. The diluted ink, the gray of the shadows, and the rich palette of nuances of brightness lend these works an airy lightness and simultaneously, although this is a contradiction, a powerful intensity.

Today there are few opportunities to experience old dance halls in their authenticity. This is subtly reinterpreted in the sound installation which Daniel Freitag conceived especially for this exhibition. Aurally, we are right in the middle of it all and hear the tuning of instruments, the musicians warming up, mistakes, set pieces, musical motifs in isolation – like an echo of past fabulous parties, without however directly recalling the music of the 1930s. Due to the presence of a dancing couple, the gallery space itself becomes a ballroom.
In her sculpture The Dance Katharina Ziemke gives the dancers, who are otherwise only represented two-dimensionally, flesh and materiality. The figures don’t have heads, the focus is entirely on the bodies and the dynamics of movement.

Katharina Ziemke (born in 1979 in Kiel) studied from 1999 - 2004 at the Ecole Superieure des Beaux Arts in Paris, graduating with a diploma in 2004. In 2002, she won an Erasmus fellowship for Stockholm. Her work has been shown in solo and group shows in Paris, Berlin und New York, and she appears in live painting and drawing performances in plays by the director Thomas Ostermeier at Berlin’s Schaubühne.

The exhibition “mad love” has been able to be realised through the direct support of the Australian Government as part of the cultural initiative Australia now 2017 – a year-long program celebrating Australian arts, culture, science and innovation across Germany.

A3 is pleased to present the group exhibition “mad love” that provides a contemporary image of current Australian art within the context of Germany and Europe. Held at Arndt Art Agency’s premises in Berlin, the show is curated by leading Australian artist Del Kathryn Barton. Barton's personal selection of prominent Australian visual artists each engage with ideas surrounding instinct, innate urges and the corporeal. Artworks included will consist of paintings, sculpture, mixed media, photography, and works on paper. The project will be accompanied by a catalogue.

Some things and some words can carry meanings that have larger lives of their own, regardless of the
meanings that we ordinarily ascribe to them. But
unless we are parts of these things—such as social bodies or movements—or use those words in a historically specific way, we cannot pretend that we have the authority to speak in their names, in the case of things, nor can we deny their intrinsic his-tory, in the case of words. The exhibition Black Matters originates in this understanding, and follows a direction that does not try to approach the subject in a vacuum, beyond history, nor does it try to speak for the subject.

The circumstances under which the exhibition has been constructed began with the current and
pervasive interest that African and African-American
artists, and other artists of African descent, have been garnering in Europe, particularly through mainstream museums and gallery exhibitions,
biennials, prestigious prizes, specialized coverage, and collectors. This positive reception from providers and consumers of contemporary culture contrasts sharply with the increasingly restrictive European policies toward African immigrants. It has also been used opportunistically and cynically, particularly by those who deny the widespread and expanding
racism within Fortress Europe.

In addressing these issues, Black Matters could be unpacked from the two different angles, based on the ambiguity in meaning of the title as a phrase. If we put aside the references that this phrase might call to mind in relation to so-called dark matter in astrophysics—an unidentified type of matter distinct from dark energy, baryonic matter, and neutrinos—Black Matters acknowledges, on the one hand, those matters that are of interest to Black people in general and artists in particular, matters which happen to be the same kinds of things, issues, and experiences that matter to all kinds of races and people, with the exceptions of the matter of race itself, which is mostly ignored in our cultural discourse, and that of the Black experience, usually portrayed as insignificant or unworthy of widespread attention. The exhibition, in this context, tries to cover the diversity of issues, interests, and media that contemporary African and African-American artists involve in their production and practices.

On the other hand, Black Matters is concerned with issues similar to those that Toni Morrison covers in her book of the same name: the Eurocentric nature of our culture—despite the four-hundred-year presence of first Africans and then African-Americans, British-Americans, Black-Caribbeans, etc., in the midst of Western societies; the negligible representation of Black artists and writers within the canon; the prevalent ignorance of Black experience, and the treatment of Africans and people of African descent in a society that continues to ignore matters of race and racial discourse. In this regard, it is important to call attention to the relation of the exhibition’s
title to the Black Lives Matter movement, because of how the movement’s name implies, in a context of evidence, that Black lives far to often are regarded as if they do not matter, a context typified in the US by the brutalizing and killing of Black people at the hands of the police and the indifference of society in general and the criminal justice system in particular.

The exhibition’s title thus yokes these two different senses together: the matters of interest to Black people—Black Matters—and the fact that Blackness still matters—that we are far from having entered a “post-racial” social condition. Although these two senses are distinct, they complement each other: the matters important to Black artists must matter to us all, as our multiple subjectivities share a common space of art.

Galerie Berinson offers the unique opportunity to see especially rare photos from Lisette Model from the artist's own estate.

Lisette Model, born in 1901 as Elise Amelie Felicie Stern in Vienna, is considered as one of the main figures of modern art photography. Her work influenced photographers such as Diane Arbus, Larry Fink or Nan Goldin.

Lisette Model enjoyed a luxurious, multilingual education and showed early interest in music. From 1920 on she studied music with composer and painter Arnold Schöneberg, who was her childhood friend Gertrude’s father, and singing with Marie Guntheil-Schoder in Vienna at the private Schwarzwald school. After her own father's death, the family moved to France in 1926, fluctuating between Paris and Nice.

First, she continued her singing education in Paris, but decided in 1933 to become a photojournalist. One may only guess why Model decided to end her music career: maybe she thought she would never earn enough credit, was tired of music, or felt pressure to have to learn a trade to earn money. Even she neither disclosed the reason.
Models younger sister Olga, herself a professional photographer, brought her the first steps. Also her friend and photographer Rogi André, André Kertész's wife influenced her and showed her the handling of special reflex cameras.

In 1934 Model made her best-known photo series of the noble vacationers at Nice's Promenade des Anglais, which 1935 appeared in Regards with a social-critical commentary, a magazine of the Communist Party. This series was criticized, but also brought immediate recognition to important photographers such as Berenice Abbott, Anselm Adams and Edward Weston.
In Nice she met the Russian painter Evsa Model, whom she married in 1936. Together they emigrated to the USA in 1938 where Model had contact with influential personalities such as Alexei Brodovitch, the art director of Harper's Bazaar, or the photographers Ansel Adams and Berenice Abbott. In 1940 the Museum of Modern Art in New York bought first photographs of Lisette Model and exhibited them in a group exhibition.

Until 1952 Model worked as a freelance press photographer, her works were regularly published in Harper's Bazaar, Cue, PM Weekly or Cosmopolitan.
She photographed in New York's bars, hotels and luxury restaurants, on the beach of Coney Island, the streets of Paris and Nice as well as on exclusive fashion shows. Also formalistic works such as the shop window reflections and running legs emerged. In 1952, she began a jazz photo series, portraying Louis Armstrong and Ella Fitzgerald among others.

In the mid-1950s, Model turned away from active photography, as American authorities ascribed communist activities to her, prevented new commissions, and paralysed her work. In 1949 she began to teach photography at the California School of Fine Arts and from 1953 at the New School for Social Research in New York City until her death. Her most famous students were Diane Arbus and Bruce Weber.

New Picture is the first exhibition solely dedicated to late Brazilian designer and art director Bea Feitler. It features original magazines, books, reproductions and personal photos from her meteoric career, spanning from the late 1950s until her death in 1982. Best known for her work in Harper’s Bazaar, Ms, Rolling Stone and the modern Vanity Fair, she left an indelible mark upon the face of American graphic design by offering a new approach to the magazine experience.

The Buchmann Galerie Berlin is delighted to announce an exhibition with works by Martin Disler (*1949 – 1996).

In cooperation with The Estate of Martin Disler we are presenting large-format paintings which arose in the artist’s final creative years in the 1990’s and additionally large-format works on paper from the same period.

Driven by an incessant creativity, the self-taught artist worked on his drawings, paintings, prints and sculptures. Time and time again in his work he approached the limits of his own physical endurance. Not only in his 4.5 x 140 meter monumental painting Die Umgebung der Liebe (The Surroundings of Love), or in the Stream of Eros (1985), a mural for the Serpentine Gallery in London, did he put his limits to the test driving himself to the point of exhaustion, but also with the group of 66 life-size bronze sculptures Häutung und Tanz (Shedding of Skin and Dance) or the sequence Arbeiten für den langen nassen Weg (Works for the long wet road) with 999 watercolours. The latter was never completed due to the artist’s tragic death but can be seen in the collection of the Kunstmuseum Basel and comprises 300 works.
In his pictorial work Martin Disler repeatedly made reference to literary works. He himself, alongside his visual work, created deeply evocative literary texts and more than a dozen art books contain his writings. In 1980, his novel, Bilder vom Maler (Pictures of the painter) was published. In September 2014, the book Die Versuchung des Malers (The temptation of the painter) appeared posthumously. His 300 water colours for Arbeiten für den langen nassen Weg (Works for the long wet road) dealt with the poems of Fernando Pessoas.

The large-format painting Der Angespülte wird gefunden (Finding somebody washed up on the shore) exhibited in the gallery belongs to a group of works consisting of 15 acrylic paintings called Trios und Quartette (Trios and Quartets) dating back to 1994/1995, which all share roughly the same format 190 x 210 cm. The title Trios und Quartette refers to the compositional form each consisting of three or four figures in a scenic representation. In the case of the painting in the exhibition Disler makes special reference to a very real incident which occurred in 1995 in the provinces of Limburg and Gelderland in the Netherlands where 250,000 people had to be evacuated due to flooding when the Maas and the Waal broke their banks.
The anticipation of death and to the same degree his great hunger for life permeate Disler’s entire oeuvre. Both serve as an expression of Martin Disler’s efforts to create works of universal validity representing the human condition.

Martin Disler was a restless wanderer; he lived in New York, in Zurich, Amsterdam, Les Planchettes and in Lugano. He died aged only 47 on 27 August 1996 after suffering a stroke. He achieved international recognition through his legendary exhibition Invasion durch eine falsche Sprache (Invasion by a wrong language) in the Kunsthalle Basel in 1980. The following years led to his rapidly growing fame.

Recently this year, the Musée d’Art et d’Histoire in Geneva exhibited Martin Disler’s graphic prints, drawings and printing blocks. In 2016 the Kunsthalle Bielefeld showed an impressive exhibition of works with sculptures, paintings and graphical works and in addition published a catalogue. The Buchmann Galerie has been representing Martin Disler’s estate since 2013.
For more information about the artist and for images you are welcome to contact the gallery at any time.

Art Week Reception at Hotel de Rome
with more works by Julian and acoustic live music by Frida Gold:
September 15, 5–7 pm | Behrensstraße 37, Berlin

On the occasion of this year’s Berlin Art Week, Circle Culture is delighted to present graphic works by American artist and filmmaker Julian Schnabel. The two-part exhibition will be on display at Circle Culture, Gipsstraße 11 and at Hotel de Rome, Behrenstraße 37, and will be opening on two evenings. This first exhibition of the gallery with Julian Schnabel also marks the return of Circle Culture to its place of origin in Berlin-Mitte. This place will be revitalized as a main location for exhibitions, round tables and cultural projects in a wide spectrum.

Graphic works represent an impressive compendium within the oeuvre of Julian Schnabel, which he continues with the current works for the first time after 18 years. As in his paintings, they reflect the diversity and intrinsic creative urge of the artist, who constantly applies surprising printing techniques and materials.

Characteristic for Julian Schnabel‘s expressionist work is the free experimentation with different materials, techniques and also citations. His complex overpaintings are characterized by associative, encyclopedic-seeming visual worlds, which Schnabel borrows and alienates artistically. The results are intertextual embedded works of art with a deliberately open character. Often they tell about the hidden, the fragmentary yet seemingly all-connected, while moving along an emotional and irrational level with an expressive intensity.

Julian Schnabel (*1951 in New York City) has exhibited widely in museums and galleries internationally, including Kunsthalle Basel; Mary Boone Gallery, New York; Leo Castelli Gallery, New York; Stedelijk Museum, Amsterdam; Kunsthalle Düsseldorf; Whitney Museum of American Art, New York; The Pace Gallery, New York; Fundació Joan Miró, Barcelona; Gagosian Gallery, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museu de Arte de Sao Paolo. His work is part of important collections all over the world, including Museum of Modern Art, New York; Whitney Museum of American Art, New York; Guggenheim Museum, New York und Bilbao; Centre Georges Pompidou, Paris.

Schnabel’s interest in the ‘making of things’ has led him into the realms of other practices including filmmaking. In 1996 Schnabel wrote and directed the feature film Basquiat about fellow New York artist Jean-Michel Basquiat. The film was in the official selection of the 1996 Venice Film Festival. Schnabel’s second film, Before Night Falls, based on the life of the late exiled Cuban novelist Reinaldo Arenas, won both the Grand Jury Prize and the Coppa Volpi for best actor, Javier Bardem, at the 2000 Venice Film Festival. In 2007 Schnabel directed his third film, The Diving Bell and the Butterfly. Schnabel received the award for Best Director at the Cannes Film Festival as well as Best Director at the Golden Globe Awards, where the film won Best Film in a Foreign Language. The Diving Bell and the Butterfly was also nominated for four Oscars. That same year, 2007, he made a film of Lou Reed’s Berlin concert at St. Ann’s Warehouse in Brooklyn. His most recent film, Miral, a polemic film about the Israeli-Palestinian conflict, won the UNESCO as well as the UNICEF award at the 2010 Venice Film Festival. Miral was shown at the General Assembly Hall of the United Nations.

Chiasera’s multi-disciplinary work, involving painting, video, performance and installation, is characterized by his inquiries into historical images, myths and rituals. The artist’s work takes history as a starting point for a process of creative de- and reconstruction, sourcing material from film, literature and philosophy. Chiasera examines and experiments with how pre-existing structures or artifacts can be reinvented to serve a purpose or embody a form different from the one it had before.
The work Untitled 1 results from combining elements of photography, film, and sculpture. The glass, on which the plaster, metal and painting are mounted, allows light to go through it, creating colour refractions on the wall behind it. This process recalls not only watercolour painting but also the importance in photography of capturing light. The wall on which the work is hung contains traces of former art installations. Functioning as a kind of “memory of the architecture” it becomes - like the work itself - a site of micro history that can be investigated in various stratographical terms. This work’s title, or rather lack thereof, and its specific location within the gallery creates a connection to Bernd Lohaus's Untitled (ca. 1980) which hung in the same position during the previous exhibition.
The work K presents a minimalistic shape, inspired by a parachute’s function at the moment of unsteady deceleration and swerving descent to the ground. K embodies an aerodynamic attenuation constantly dependent on the density of the vehicle, the atmospheric air and the surface of the parachute.
The complex work, Ambush #2 Safari Minimalism, serves multiple creative purposes. The piece functions simultaneously as a space, a magazine and a painting. The first issue of this work, Ambush #1 Psychoinstitutions, critically analysed the relationship between contemporary art and the institutions that promote and propagate it, addressing the question ‘How exactly is an institution truly dedicated to contemporary art to be identified?’ The new issue is produced in Chateau Grillemont where Chiasera stayed for a period of two months as an artist in residence. Here, Ambush becomes a temporary site for Near East, while at the same time developing into an engine for cultural ventures through publishing and exhibition making.
La Macchina Analitica springs from a reflection on the work of British mathematician and philosopher Charles Babbage, who first developed, yet failed to actualize, a programmable brass calculator. Babbage got the inspiration for his calculating device from the loom designed by Joseph Marie Jacquard, adapting the perforated boards used in textile production.
Chiasera enhanced the creative skidding process through reconstructing the machine and transforming it into an instrument for musical amplification. The music was composed by Andrea Portera and performed by the pianist Andrea Lucchesini especially for this purpose. Changing its purely economical purpose as a calculator to that of a music generator, La Macchina Analitica carried out a shift from analog to digital back to analog. Thus, Babbage's failed attempt at building a calculator became the starting point for Chiasera to reinvent an object out of imperfection and error.
Paolo Chiasera (1978, Bologna) is an artist, writer and curator. In 2013, he founded 'Secondo Stile: a nomadic canvas-based artist-run exhibition-space', which focuses on the production, presentation, and discourse of contemporary art and culture. He is the author of the essays: “Painting 1: analysis and convergences” (2011, Oslo University), “The horizon after commodity: notes on perversion” (2011, Oslo University), “Art criticism 2.0 II Stile” (2017, upcoming). Among his solo exhibitions are: GAM (Torino, 2002), MAMBO (Bologna, 2006), MACRO (Rome, 2008), MARTa Herford (Herford, 2009), SMAK (Gent, 2010), galleria Massimo Minini (Brescia, 2003, 2008, 2011), PSM ( Berlin, 2009, 2012, 2014, 2017) Francesca Minini (Milano, 2006, 2009, 2012, 2014), MAN (Nuoro, 2014), De Vleeshal (Middelburg, 2014), Villa Medici (Rome, 2014).